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FOUNDED IN 1881 BY HENRY LEE HIGGINSON

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SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE

It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance.

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CHARLES H. WATKINS & CO. RICHARD P. NYQUIST

in association with OBRION, RUSSELL & CO. Insurance of Every Description

108 Water Street Boston 6, Mast.

LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958

Boston Symphony Orchestra

CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor

CONCERT BULLETIN

with historical and descriptive notes by

John N. Burk

Copyright, 1958, by Boston Symphony Orchestra, Inc.

The TRUSTEES of the

BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President

Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager

SYMPHONY HALL BOSTON 15 [1505] CAN YOU DESCRIBE A LIFE INSURANCE TRUST?

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[1506] SYMPHONIANA

Exhibitions List of Articles Mrs. M. Graeme Haughton THE TROUSSEAU HOUSE OF BOSTON The Pops Berkshire Festival Programs

EXHIBITIONS The exhibitions shown in the Gallery during the season past were as follows: Paintings loaned by the North Shore Arts Association (October 4-12). Italian Prints loaned by the Boston Public Library (October 25-November 9). Paintings by members of the Boston Society of Water Color Painters (No- vember 19-December 10). Photographs taken on the South Ameri- can tour of the Zimbler Sinfonietta (December 20-28). Subscribers' Exhibition (January 3- 11). Paintings from the deCordova and Dana Museum of Lincoln (January 24- vy*-^ February 8). American paintings loaned by the Fogg Art Museum (February 21-March 15). Paintings loaned by the Institute of Contemporary Art, Boston (March 28- April 19). personal LIST OF ARTICLES PAGE accent Munch Honored in Lebanon 3 Monograms add an individual Our Saturday Concerts Broadcast touch to this spring lingerie — of in 4 sprinkled with New Auditorium 4 nylon georgette, In Memory of Sibelius 4 apple blossoms — its embroidered The South American Tour 4 edging scalloped and touched with The Independence of Sibelius ... 67 nylon net. Pink or Turquoise North Shore Arts Association ... 68 on White. Sizes 32 - 38. Gown A Gift 107 $22.50. Slip $16.95. Petticoat Vaughan Williams' Newest $12.95. Pantie $10.95. Prices Symphony 131 include monogramming.

Symphony Broadcasts Extended . 132 Dr. Munch in Lebanon 171 416 B0YLST0N ST., BOSTON • KE 6 6238 Saint-Saens and the French Classical Spirit 195

[ 1507 ] .

Italian Prints 235 Stravinsky in a Composition Class (by Maurice Perrin from "The Score," 1957) 259 Charles Munch Answers a Letter 323 A History of Recording by This Orchestra 324 A Musical Coming-of-Age (Editorial in , November 21, 1957) 427 Our Symphony Broadcasts 452 The Commissioned Works 491 A Message from 579 Charles Munch to Conduct in Israel 683 Subscribers Exhibition 707 Dr. Munch in Israel 772 Reports from Israel 835 New Trustees 900 Honor for Leo Smit 939 Dr. Munch's Impressions of Israel 963 Great American Paintings 1027 Berkshire Festival we 9re putting Announcement 1067, 1155 j\ Bach at His Greatest 1091 The Berkshire Music Center at it in print . . . 1131 "Rudy" Elie 1155 they're true collector's Radio News 1195

items, our "first edition" Institute of Contemporary Art . 1219

Crints ... in dresses, The Statues in Symphony Hall . 1347 louses, costumes, hats, List of Casts in Symphony Hall . 1387

accessories . . . with spicy Berlioz Manuscripts 1411 colors and marvelous Visit of 1412 fabrics which give an Berkshire Festival Program 1547 entirely new feeling to

spring fashions ... and if you're a "collector" you MRS. M. GRAEME HAUGHTON won't miss them for any- The death of Mrs. Haughton on Satur- thing! day, April 19, at the age of 93, recalls her long association with this Orchestra as one of its closest friends for many years. She was a niece of Henry L. Higginson.

~Q©

(Continued on page 1547)

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[1509] FINANCIAL. JUDGMENT WITH THE HUMAN TOUCH

Finding a missing heir

An inheritance was waiting for a woman whose family hadn't heard from her for more than 25 years. The money was left by her father, who stated in his will that the money should be divided among the other heirs if the daughter could not be found. Old Colony, as Executor, used every possible means to find her, including advertising in newspapers across the country. The woman was found and given her legacy. Just another example of how Old Colony, as Executor, carries out the wishes of the maker of a will. Old Colony would be glad to discuss your estate plans with you and your lawyer at any time. As a first step, write for the 24-page booklet, "Wills and Trusts."

Augustin H. Parker, Jr. President WORTHY OF YOUR TRUST T. Jefferson Coolidge Old Colony Chairman, Trust Committee Arthur L. Coburn, Jr. Trust Company Chairman, Trust Investment Committee ONE FEDERAL STREET, BOSTON

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[1510] SEVENTY-SEVENTH SEASON • NINETEEN HUNDRED FIFTY-SEVEN -FIFTY-EIGHT

Twenty-fourth "Program

FRIDAY AFTERNOON, April 25, at 2:15 o'clock

SATURDAY EVENING, April 26, at 8:30 o'clock

RICHARD BURGIN, Conductor

Haydn Symphony in B-flat, No. 102

I. Largo; Allegro vivace

II. Adagio

III. Menuetto: Allegro; Trio IV. Finale: Presto

Stravinsky Divertimento, "Le Baiser de la F£e," Allegorical Ballet

I. Sinfonia

II. Danses Suisses

III. IV. Pas de deux Adagio — Variation — Coda INTERMISSION

Beethoven Symphony No. 5, in C minor, Op. 67

I. Allegro con brio

II. Andante con moto

III. (Allegro; Trio IV. ^Allegro

These concerts will end about 3:55 o'clock on Friday afternoon; 10:10 o'clock on Saturday evening.

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[W*] SYMPHONY IN B-FLAT MAJOR, NO. 102 (No. 9 of the Series) By

Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809

This was the only symphony on the first program of the Boston Symphony Orchestra, on October 22, 1881. This program was repeated on the Orchestra's Fiftieth Anniversary, October 10, 1930, when Sir George Henschel returned to repeat his original program.

The most recent performance at these concerts was on September 30, 1955. The symphony is scored for 2 , 2 , 2 , 2 horns, 2 , and strings.

^t^his symphony is one of the six which Haydn composed for his * second visit to London in 1794 and 1795 — he composed twelve in all for performance by the orchestra of Salomon in the British capital. The symphony was written, according to C. F. Pohl, Haydn's biog- rapher, in 1795, and must accordingly have been performed in that year. Haydn was required by the terms of his agreement with Salomon to write a new work for each of the weekly concerts in the subscription series which that arranged, and the composer was as good as his word. He stipulated (hearing, perhaps, that the British public f S. S. PIERCE

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[1513] had late-coming habits) that the new piece should be played always at the beginning of the second part of the program. When each particular symphony was played it is usually impossible to tell, for the programs simply state: "New Grand Overture (Symphony)," or "Grand Over- ture (Symphony) mss."* There is every evidence that took the twelve to its heart. The concerts were crowded, and another management had only to announce a work of Haydn to be sure of an audience. The Morning Chronicle probably voiced the general opinion when it praised the "agitating modulations" of the symphonies, and the "larmoyant passages" in their slow movements. Everyone was charmed by Haydn's grace and humor, and the and choruses of Handel were momentarily overlooked in the interest of those unaccustomed forms to which Haydn had given such abundant life — the symphony and the string quartet. The second of the London symphonies (in D major), and the "Surprise" Symphony were singled out for special favor, and often repeated. Also of the Salomon series were the so-called "Clock," "Drum Roll," and "Military" symphonies. As elsewhere among his final symphonies, Haydn here dispenses with the ceremonious portal of a broad coup d'archet. A soft chord suffices

* It was not until 1817 that the program of the London Philharmonic Society identified symphonies by number or key.

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[15H] DO YOU KNOW...

THAT modern art is mushrooming in ?

DO YOU KNOW that it is no longer confined to the gallery walls of Boston's Institute of Contemporary Art but is spreading south and north — from Quincy to Cambridge— and west to east— from the Institute on the Fenway to Symphony Hall . . . that since January l,the Institute, for 21 years the only organization in New England devoted solely to the art of our time, has extended its walls in cooperation with art-interested patrons, to increase the enjoyment and enlightenment of new audiences; to assist the artist in broadening his sphere of influence?

DO YOU KNOW that this season the Institute has been invited by Stop and Shop, Remicks of Quincy and Symphony Hall to select major exhibitions of important regional and national contemporary art. That one selection was shown in such an unlikely place as a supermarket with its thousands of shoppers who looked in astonishment to see works of art soaring above a bank of green vegetables, and were delighted with what they saw! . . and that another commandeered an entire floor in Quincy's foremost retail store with equal success? Now the Institute is in Symphony Hall with a selection of international artists of great promise: an exhibition which complements the Institute's current second annual survey of promising New England artists — Selection 1958.

DO YOU know that you can help in the Institute's extension program which plans to bring the community closer to the art and artists of today— by becoming a member. . .that membership privileges and infor- mation about the Institute of Contemporary Art may be obtained at 230 The Fenway, Boston 15, Mass.

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[»5»5] to introduce the tender largo, with its gentle syncopated pulsations. The sprightly allegro vivace takes sudden possession of the movement. Speaking of its formal mastery, Professor Tovey puts himself on record as setting this work together with the Symphony in D major (No. 104) and the String Quartet in F, Op. 77, No. 2, as Haydn's "three greatest instrumental works." He points out at length Haydn's success in obtaining that symmetry expected of a symphony in the eighteenth century, while avoiding the rather barren means of an almost identical recapitulation, to balance the exposition. "What the orthodox text- books assume to be Haydn's recapitulation is neither more nor less than a true Beethoven coda of the ripest kind. Where then does the symmetry come in? It comes in at the end of the exposition, which Haydn always rounds off very neatly in a phrase quietly reproduced at the end of the movement, just where it is the last thing you would expect. . . . The only way to get the benefit of Haydn's or any great composer's sense of form is to listen naively to the music, with expecta- tion directed mainly to its sense of movement. Nothing in Haydn is difficult to follow, but almost everything is unexpected if you listen closely, and without preconceptions." Haydn, the subtle vagrant in modulation, here plies his skill to the utmost . Near the end of the exposition he drops his ingratiating ways to establish his new keys with sudden loud chords. They have a boldness foretelling Beethoven, but none of the provocative challenge of the master to come.

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[1516] Come to the JOHN HANCOCK TOWER

• See yesterday's Boston in historical rooms

• See today's Boston from the Tower

If you're an antique-lover or historical student, you'll relish seeing old Boston's furniture and background in the John

Hancock living-room and other exhibits atop the Hancock

Tower. And the Tower itself brings you a stirring panorama for miles and miles of Boston today. We'll welcome your visit.

Visiting hours at the Tower The Tower's Historical Rooms on the Observation Floor are open to visitors, without charge. Mon- day through Friday from 9:30 a. m. to 4:00 p. m.

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[1517] The Adagio is in effect the development of a single theme. There is no middle section, no arbitrary sequence of variation patterns, no break in the general rhythmic scheme of triple time with a constant accom- panying figuration of sixteenth notes; no marked variety in the instru- mentation, wherein the first , doubled by a single , usually carry the melody. The charm of the music lies in its delicacy and variety of detail, in which the device of a duple against a triple rhythm is much used. It is a single melodic unfolding of infinite resource, a mood so enkindled that it need never lapse into formula. This Adagio must have been a favorite with Haydn, for it also appears in a Piano Trio, where the key is F-sharp, a half tone higher than in the symphony. The Trio was dedicated to Haydn's very special friend Mrs. Schroeter, who, according to Dr. Pohl, fondly cherished this piece. The Minuet, together with its trio, re-establishes the tonic key. In the second part, the humor which sparkled in the opening movement reasserts itself in triple chords. The Finale, like most finales of Haydn when invention was fully unloosed, is indescribable. W. H. Hadow, in his study of Haydn as a "Croation composer," detects in the opening theme a march tune com- monly played in Turopol at rustic weddings. (The melodic first phrase of the largo which introduces the symphony Mr. Hadow finds similar to a Slavonic folk ballad: "Na placi sem stal")

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[15*9] Divertimento from "LE BAISER DE LA F£E" ("THE FAIRY'S KISS"), Allegorical Ballet in Four Scenes By Igor Fedorovitch Stravinsky

Born at Oranienbaum, near St. Petersburg, on June 17, 1882

In 1928, Stravinsky composed for Ida Rubinstein "Le Baiser de la Fee, Ballet- allegorie en 4 Tableaux." It was performed under his direction at the in Paris, on November 27, and repeated on December 4. The ballet was mounted at the Theatre de la Monnaie in , and at Monte Carlo; also at La Scala in

Milan, all in the same season, for the company of Mme. Rubinstein. Later it was studied anew by Mme. Nijinska, and produced at the Colon Theatre in Buenos- Aires, where other of Stravinsky's works have been performed. The suite was played under his direction in November, 1928, by the then newly formed Orchestre Symphonique de Paris at the Theatre des Champs £lysees. Visiting America, Mr. Stravinsky conducted the suite at a concert by the Boston Symphony

Orchestra in Sanders Theatre, Cambridge, on March 14, 1935. It was performed in Boston under the direction of Dr. Koussevitzky, October 30, 1936, and repeated under the composer's direction, January 17, 1941, and by Ernest Ansermet, January 11-12, 1952. The suite is scored for 3 flutes and piccolo, 2 oboes, English , 3 and bass , 2 bassoons, 4 horns, 3 trumpets, 3 and , timpani, bass drum, harp, and strings.

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[1520] IS IT TIME TO CHECK YOUR WILL?

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[!52l] The composer made his orchestral suite from the ballet "without great difficulty," as he himself has written, "on account of its straightforward plan." Stravinsky expresses his pleasure in conducting

this music in that it embodies a method of orchestral writing new to him, and easily conveyed to its audience in a first hearing. Stravinsky dedicates the piece "To the muse of Tchaikovsky," and further explains on his score: "I dedicate this ballet to the memory of

Pierre Tchaikovsky, identifying his muse with the Fairy, and it is from this fact that the ballet becomes an allegory. His genius has in like degree marked the score with a destined kiss — a mystic influence which bespeaks the whole work of the great artist." Herbert Fleischer further particularized this curious alliance (Russischer Musik Verlag, Berlin, 1913): "Stravinsky takes as the basis of the composition the melodies and characteristic turns of expression of Tchaikovsky. He removes the often too sweet and rather feminine meltingness of Tchaikovsky's melos. He recasts the tones of the master, so reverenced by him, in his own rigid tonal language. Yet the lyrical tenderness of Tchaikovsky's melos

is not lost.

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"Tchaikovsky's 'Wiegenlied im Sturm' constitutes the fundamental motive of the ballet. With it, it begins, and with it, it ends. From the succession of Tchaikovskyan melodies that have been drawn upon, of most importance are the Humoresque for piano — used in the splen- didly colored material of the second tableau; in the same scene, the melody of the waltz 'Natha' [from the Piano Suite, Op. 51], and the piano piece 'The Peasant Plays the Harmonica' from the Children's

Album." There is also an unmistakable allusion to the Romeo and Juliet Overture. Stravinsky, on an introductory page of his score, finds four lines sufficient to give the plot of his ballet: "A Fairy has marked with her mysterious kiss a young man in his childhood. She withdraws him from life on the day of his greatest happiness to possess him and thus pre- serve this happiness forever. Again she gives him the kiss." The indications in the score will give a more detailed idea of the action:

I. Prologue (Storm Lullaby) (Andante) — A woman carrying her child proceeds through the storm — The fairy spirits appear.

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[1525] (Allegro) — The spirits pursue the woman — They separate her from her child, and carry him off — Appearance of the Fairy — She approaches the child — She surrounds him with tenderness — She kisses his forehead and vanishes, leaving him alone on the stage.

(Vivace) — Passing peasants find the child abandoned, seek vainly for his mother, and anxiously take him off.

II. A Village Fair (Tempo giusto) — Peasants dance, musicians play; the young man and his betrothed dance with the rest (Valse, poco piu lento) — The musicians and the crowd go off; the betrothed leaves the young man all alone. (Tempo primo) — The Fairy, disguised as a gypsy, approaches him; she takes his hand, and tells his fortune — She dances (tempo agitato), increasing her spell over the young man — She speaks to him of his love and promises him great happiness — Moved by her words, he begs her to lead him to his betrothed — She does so. (Omitted from the suite.)

III. At the Mill

(Moderato) — The young man, led by the Fairy, reaches the mill, where he finds his betrothed surrounded by her companions, playing round games; the Fairy immediately disappears (Allegretto grazioso).

IV. Pas de deux

(Moderato) — Entrance of the young man (Omitted from the suite). (Adagio) — The young man and his betrothed. (Variation: Allegretto grazioso) — The betrothed. (Coda: Presto) — The young man, his betrothed, and her companions —

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[1526] summer resort for the most pampered of furs our own fur storag vaults on Memorial Drive

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[1527] :

The betrothed goes to put on her wedding veil — The companions fol- low her, leaving the young man alone.

(The remainder is omitted from the suite.)

(Andante non tanto) — The Fairy appears, concealed by a wedding veil; the young man takes her for his betrothed, and approaches her with rapture; the Fairy throws back her veil. The young man, astonished, perceives his mistake; he tries to escape, but in vain; his will yields to the supernatural charm of the Fairy, who will carry him to an eternal existence where, to the strains of her lullaby, she will again give him the kiss — The fairy spirits slowly group themselves across the stage in ranks representing the infinite immensity of azure space. The Fairy and the young man are seen on an elevation — She kisses him.

Stravinsky speaks at length of "Le Baiser de la Fee in Chroniques de Ma Vie: " "I was still occupied with the completion of the music of 'Apollon,' he writes, "when towards the end of the year previous (1927) I received from Mme. Ida Rubinstein the request to compose the ballet. The painter, Alexandre Benois, who was working in her interests, submitted to me two schemes. One of them pleased me in every way: it was to create a work under the inspiration of the music of Tchaikovsky. My love [tendresse] for this composer and the fact that the coming pres- entations in the month of November would coincide with the 35th anniversary of his death, confirmed my acceptance of this offer. It gave me the opportunity to make a sincere obeisance to the admirable talent of this man.

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[1528] Munch iJcMJmvbkM conduets'Beethoven's PASTORAL SYMPHONY

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[1529] "As I was free to choose the subject and the scenario of the ballet, I began to examine the literature of the nineteenth century in search of something in the spirit of Tchaikovsky's music. Accordingly, I looked for a great poet whose gentle and sensitive soul, and whose restless and imaginative nature would be in keeping with the character of Tchai- kovsky. I thought of Hans Christian Andersen, with whom Tchaikov- sky had more than one trait in common. One need only recall the 'Sleeping Beauty,' the 'Nutcracker Suite,' the 'Swan Lake,' the 'Pique Dame/ and other of his works to realize to what degree the fantastic was dear to him. "Turning the pages of Andersen, which were well known to me, I chanced upon a tale which I had completely forgotten, and which seemed to me perfectly suited to my purpose. It was the beautiful tale entitled, 'The Ice Maiden.' From this I borrowed the following plot: a fairy bestows her magic kiss upon a child at birth and separates him from his mother. Twenty years later, at the moment when the young man attains his greatest happiness, she gives him once more the fatal kiss and closes him in her embrace to possess him forever in supreme felicity." But the kiss of the Ice Maiden in Andersen's tale was the dread kiss of frost. "She, the Glacier Queen, the death-dealing, the crushing one,

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[1531] is partly a child of air, partly the mighty ruler of the river; thus she is also able to raise herself to the summit of the snow mountain, where the bold climbers are obliged to hew steps in the ice before they can mount; she sails down the rushing stream on the slender fir twig, and springs from one block to another, with her long, snow-white hair and her blue- green garment fluttering around her and glittering like the water in the deep Swiss lakes. " 'To crush and to hold, mine is the power,' she says. 'They have stolen a beautiful boy from me, a boy whom I have kissed, but not kissed to death. He is again among men; he keeps the goats on the mountains, and climbs upwards, ever higher, far away from the others, " but not from me. He is mine, and I will have him!'

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[1533] .

ON SAYING NOTHING NEW By Gerald Cockshott

(The Musical Times, March, 1957)

One of my favourite bits of music criticism occurs in The Musical World of 8 March 1838. "It may be a graphic example of the transcendental horrors of German insanity, but it is not music," says the critic — of a passage in Weber's Overture to Euryanthe. In 1899 a critic remarked that "M. Delius's music is bizarre and cacophonous to a degree almost unapproached"; and about twenty-five years ago an eminent writer on musical subjects, who is happily still with us, headed an article in the Radio Times: "Is Bart6k mad — or are we?"

No modern music critic is going to be caught out like that; but change, as we know only too well, does not necessarily mean progress. An attitude of pontifical blindness towards anything obviously out of the rut is seldom to be met with in critical writing nowadays; but this is not to say that the critic has altogether mended his manners and reformed his ways. He has, rather, reversed his criteria. Where his prodecessor was inclined to favour the traditional and castigate the

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[i534] new, he tends to favour what he considers to be new and castigate what he is pleased to call old-fashioned.

It is an understandable reaction, but it is not one that is necessarily approved of by the pioneering composer himself. "The duty of the composer," says Dr. Vaughan Williams, "is to find the mot juste. It does not matter if this word has been said a thousand times before as long as it is the right thing to say at that moment. If it is not the right thing to say, however unheard of it may be, it is of no artistic value.

Music which is unoriginal is so, not simply because it has been said before, but because the composer has not taken the trouble to make sure that this was the right thing to say at the right moment." Else- where Dr. Vaughan Williams has made the same point even more bluntly: "If another composer has said the same thing before, so much the worse for the other composer." The most obvious fault of some of the critics in the past — it is easy to be wise so long after the event — was that they were more indulgent towards lifeless exercises in a style with which the majority of listeners were familiar than towards works of imagination whose idiom was strange to them. Today, some critics — the younger ones in particular — so far from exhibiting a discernment denied to their predecessors,

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[1535] merely show themselves more indulgent towards lifeless exercises in a style with which the majority of listeners are unfamiliar than towards

works of imagination whose idiom is not strange to them. It is unfa- miliarity of idiom, not newness of content, that seems to determine their reaction. Constant Lambert, writing in the nineteen-thirties, gives a delightful example of this failing. "Some ten years ago an immature quartet of Walton's, written in the then fashionable revolu- tionary manner of Central Europe, earned for him the title of 'Inter- national Pioneer.' In 1933 his mature but regrettably consonant Belshazzar's Feast was dismissed, particularly by the older critics, as

'routinier,' conventional, and unworthy of its place in so selectly

revolutionary a festival. The rest of the works were still in the style

that Walton himself had used ten years before, but it so happened that Walton's development had led him away from official revolt to personal revolt. It would be a tenable hypothesis that Walton himself was the real revolutionary and the others the conservatives." (The critics who turned up their noses at Troilus and Cressida might re-read Lambert with profit.)

Every composer is influenced by somebody: the position today is

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[1536] Readers of this program knew him as a knowledge- able assessor, of Boston's musical output. Clever as the Columnist was with the turned phrase, the Critic never used an evening at Symphony Hall as a vehicle for the display of wit or omniscience, confining his remarks to the specifics of the performance. Another critic might have described: What I Wish Had Happened But Didn't. Still another: This Is Exactly What Went Wrong. There was neither catastrophe nor caprice in art as observed by Elie; only more or less enjoyment and memorability, politely and pertinently translated into linotype.

In 1947, when we opened the country's first hi-fi equipment demonstration room, we hopefully asked Rudolph Elie down for a look. He stayed an hour, later devoting an entire Herald column to our venture. On at least one other occasion he gave us a "galley" of the choicest pub- licity. Ever the reporter, he could tolerate the most obvious bid for free advertising if the news values were actually there. The same giving graciousness was annually extended to the New England High-Fidelity Music Show, a trade event to which he even lent his good name for the letterhead. The formula? You asked ... he gave. That may explain why we are still saying Thanks, Rudy. For the good prose, good sense, and the rose-colored glass you blew in the A.M. edition. For finding yet another cuisine where the ladle is not for burning. For never saying the negative, the obvious, or even the uninteresting. A man who can wear many hats and look good in all of them is quite a guy! Rudolph Elie was such a man: reporter, columnist, novelist, speaker, musician, humorist, critic, gourmet. His closer friends undoubtedly could add to the list. We knew him just well enough to say him this goodbye, and we say it with our one commercial hat in our hand.

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[ 1537 ] that the influences that are understood and welcomed by Covent Garden or Festival Hall audiences are anathema to the young critic, and the converse too applies. If a new composition by an Englishman

owes something to Vaughan Williams, then it is likely to be condemned

as "conservative in language"; whereas if it is clearly influenced by

Mahler or Schoenberg it will be praised as "saying something new."

The young critic who talks of "newness" is often not really concerned with newness at all: he is merely showing a preference for one tradition rather than another; and it has become the fashion in some circles to favour the one that is foreign to the majority of concert-goers. Elgar once remarked of critics, "They are the victims of their own temperaments. . . . The music they condemn is . . . the music that does not appeal to their particular kind of nervous system."* While this is true to a certain extent of all of us, it seems particularly apposite to the devotees of what one might term the Viennese neurotics. Still, granted that we give the pioneer his due (even if he is a pioneer in a waste land), I confess I cannot see why the droves of camp followers snould be praised simply for following one pioneer rather than another.

The man who imitates Schoenberg is no more original than the one

* Gerald Cumberland: Set Down in Malice: a Book of Reminiscences. Grant Richards, 1919.

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In any case, is "newness" — even genuine newness — a valid criterion?

If it is, then a beautifully finished composition by Gordon Jacob in a traditional style must be considered ipso facto inferior to a piece of musique concrete; and while we may praise the Epilogue to Vaughan Williams's Sixth Symphony we must reject the slow movement of the

Eighth. Beauty of sound will not enter into it. Some critics today seem to be so haunted by the solecisms of their predecessors that the adjective

"ugly" is rarely to be found in their notices: in fact, one seldom gains much impression from their writings as to what a work sounds like.

Of course, we may read between the lines, and if a work is praised

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h54i] Personally, I have some confidence in the judgment of the ordinary educated listener, and it is a great mistake to assume that he must inevitably be wrong. He has caught up with Vaughan Williams and with a good deal of Bartok and Hindemith; he will listen with pleasure to Walton, Copland, Ibert and Prokofiev; and the fact that he has not yet caught up with Schoenberg's orchestral pieces of 1909 does not seem to me to reflect to his discredit. When before in the history of music has a composition seemed well-nigh unintelligible, not only to the ordinary concert-going public but to the majority of trained musicians, nearly half a century after it was written, while later works by the composer's contemporaries and juniors have become plain sailing? Not everything that is obscure when it is first performed will

"please one day"; and what cesthetic objection is there to music that affords the average listener some of the pleasure that he derives from the classics? The choice does not, as is sometimes implied, lie between the two extremes of good music that interests the few and bad music that appeals to the many. There is a great deal being composed that is both good and comprehensible to a listener blessed with discrimina- tion but little specialized knowledge; and it is this music, rather than the esoteric, that I feel the critic should endeavour to approach with

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[ 1543 ] erkshire Music Center

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[»545] sympathy and understanding. By all means let him censure bad work- manship, triteness and sentimentality. What I object to is the ten- dency in some quarters to belittle the composer who, without com- promising his artistic integrity, succeeds in giving pleasure to a comparatively wide audience, and to imply that he would do better if, like Mr. X, he juggled with a few tone rows. Pope's maxim may still be borne in mind:

A perfect Judge will read each work of Wit With the same spirit that its author writ.

Vitality and charm mean more to most listeners (and mean more in the long run) than crab canons — and rightly so, for academic devices are of no artistic value in themselves, least of all when they are used in atonal compositions. It is difficult to see why the "revolutionary" twelve-noters should be praised for the strictness with which they use the time-honoured contrapuntal devices of "conservative" composers or why there is supposed to be any virtue in atonal canons, fugues and passacaglias. A composer cannot even applaud their ingenuity, since he knows that no ingenuity is required to write counterpoints that do not fit a basically diatonic harmonic scheme. It is no secret among

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[1546] — :

(Continued from page 1508) THE POPS

Arthur Fiedler, who will open the Pops season next Tuesday, travels far as guest conductor in the winter season. When he conducted the Municipal Or- chestra in Buenos Aires on March 1, the Meridiano-Cordoba welcomed him as "an old acquaintance of nearly all Ar- gentinian discophiles" and through the Boston Pops a "popularizer of sym- phonic music." Now on a brief visit to Oslo, where he has been presented to the King of Norway, he flies back on Saturday.

BERKSHIRE FESTIVAL PROGRAMS The complete programs for the Berk- shire Festival by the Boston Symphony Orchestra at Tanglewood are here announced. The concerts will be given on Friday and Saturday evenings at 8:30 and Sunday afternoons at 2:30, as with branch stores in follows : SERIES X WELLESLEY Friday, July 4 83 Central Street

Bach Suites Nos. 1, 2, 3, 4 Conductor: charles munch COHASSET Saturday, July S Stagecoach Way Bach Piano Concerto in D minor

Soloist : and a summer shop in The Art of the Fugue Conductor: charles munch HYANNIS Sunday, July 6 Main at Bassett Bach B Minor Mass , BLAKE STERN, DONALD GRAMM AND RADCLIFFE CHORAL SOCIETY Conductor: g. Wallace woodworth

SERIES Y Friday, July 11 Do come in. It will be Mozart Musical Joke, K. 522 our pleasure to serve you Sinfonia Concertante Soloists RUTH POSSELT, JOSEPH DE PASQUALE "Linz" Symphony, No. 36, in G major Conductor: charles munch

(Continued on page 1551)

[ *547 ] composers, of course, that twelve-note music is as easy to write as it is difficult to listen to; and though some of the critics may be fooled most of the time, it is not so easy to fool the concert-going public.

A century hence it will be small matter whether a composition that has stood the test of time — which means the test of the approval of a comparatively large body of listeners — was hailed as new or condemned as old-fashioned when it first appeared; and it is not impossible that our descendants will find some of the musical judgments of our day as wide of the mark as those of earlier years — and as amusing.

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Stravinsky: La Baiser de la Fee and Pulcinella Markevitch • French National Orchestra. Angel 35143 Delibes: Ballet Music from Coppelia and Sylvia Cluytens • Paris Opera Orchestra Angel 35416 Waldteufel Waltzes Henry Krips • Philharmonia Promenade. The Skaters • Mon Reve • Estudiantina • Grenadiers • Pomone • Espana FLUENT Angel 35426 Menotti: The Unicorn/ The Gorgon and The Manticore DRESSING A Madrigal Fable for chorus and instrumental ensemble, recorded in cooperation with the Ballet. Conductor: Thomas Schippers. This sheer wool chemise doesn't Angel 35437/L take courage to wear. It fawns over the figure yet it has a slender look to the front. Gathered yoke back in a loose cocoon shape. Lime green, beige, powder blue, navy.

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[•549 .

SYMPHONY NO. 5, IN C MINOR, Op. 67 By

Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827

The Fifth Symphony was completed near the end of the year 1807, and first performed at the Theater an der Wien, Vienna, December 22, 1808, Beethoven conducting. The parts were published in April, 1809, and the score in March, 1826. The dedication is to Prince von Lobkowitz and Count Rasumovsky. The Symphony is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and double-, 2 horns, 2 trumpets, 3 trombones, timpani and strings (the piccolo, trombones and contra-bassoon, here making their first appearance in a symphony of Beethoven, are used only in the Finale) The most recent performances in this series of the Boston Symphony Orchestra were on December 28-29, 1956.

It is possible to find an affinity of rhythmic units through the four movements of the Fifth Symphony. But the similarity (and it is nothing more) should be kept within the bounds of a superficial obser- vation. Beethoven may not have been even aware of it — he was too deep an artist to pursue a unifying theory. A still greater mistake is to look upon the initial four-note figure with its segregating hold as more than a segment of the theme proper. Weingartner and others after him have exposed this fallacy, and what might be called the

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[1550] (Continued from page 1547) Berkshire Festival Programs Ravel "Daphnis and Chloe," 2nd Suite Saturday, July 12 Tchaikovsky Concerto Mozart Eine Kleine Nachtmusik Soloist: ziNO francescatti Two-Piano Concerto, K. 365 Conductor: charles munch Soloists : SEYMOUR LIPKIN, LUKAS FOSS Serenade No. 10 in B-flat for Winds Symphony No. 40 in G minor SERIES C Conductor: Charles munch Friday, August 1 Wagner Sunday, July 13 Prelude to "Die Meistersinger" Siegfried Mozart Haffner Symphony Idyll ; Prelude and Love Death from "Tristan and Isolde" Piano Concerto in C major, K. 467 Piston Concerto Soloist: SEYMOUR LIPKIN Wagner Immolation Scene Conductor: charles munch MARGARET HARSHAW, Choral works conducted by hugh ross JOSEPH DE PASQUALE, Viola Conductor: charles munch

SERIES A Saturday, August 2 Friday, July 18 Wagner "Tannhauser" Overture and Brahms Serenade No. 2 in A, Op. 16 Bacchanale Copland Variations for Orchestra Liszt Piano Concerto No. 1 in Brahms E-flat Symphony No. 4 Soloist: LEONARD PENNARIO Conductor: charles munch Vaughan Williams Symphony No. 8 Wagner Siegfried's Rhine Journey Conductor: Saturday, July 19 charles munch Brahms Sunday, August 3 hilde gueden, Soprano Wagner Excerpts from "The Flying donald gramm, Dutchman," "Lohengrin," Die FESTIVAL CHORUS Walkure," Conductor: charles munch "Parsifal," "Tannhauser," "Rienzi" Soloist: Margaret harshaw, Soprano Sunday, July 20 Conductor: Brahms Academic Festival Overture Piano Concerto No. 1 in D minor Soloist: SERIES D Stravinsky Petrouchka Friday, August 8 Conductor: pierre monteux Honegger Prelude Fugue and Postlude Beethoven Symphony No. 7 Piano Concerto No. 5 ("Emperor") SERIES B Soloist: EUGENE ISTOMIN Friday, July 25 Conductor: charles munch Glinka "Russian and Ludmilla" Ov, Tchaikovsky Symphony No. 4 Saturday, August 9 Milhaud Ov. to "Les Eumenides" Beethoven Music from "Prometheus"; Debussy Three Nocturnes Ravel La Valse Soloist: berl senofsky Conductor: pierre monteux Hindemith Beethoven Leonore Ov. No. 3 Conductor: pierre monteux Saturday, July 26 Stravinsky Agon Sunday, August 10 Rachmaninoff Piano Concerto No. 3 Walton Johannesburg Festival Ov. Soloist: BYRON JANIS Beethoven Ninth Symphony Debussy La Mer FESTIVAL CHORUS AND SOLOISTS Conductor: charles munch Conductor: charles munch Sunday, July 27 Bartok Music for Strings, Percussion Tickets at the Festival Office, Sym- and Celesta phony Hall.

[i55i] enlightened interpretation of this movement probably began with the realization that Beethoven never devised a first movement more conspicuous tor graceful symmetry and even, melodic flow. An isolated tile cannot explain a mosaic, and the smaller the tile unit, the more smooth and delicate of line will be the complete picture. Just so does Beethoven's briefer "motto" devolve upon itself to produce long and regular melodic periods. Even in its first bare statement, the "motto" belongs conceptually to an eight-measure period, broken for the moment as the second fermata is held through an additional bar. The movement is regular in its sections, conservative in its tonalities. Its very regularity, its incredible compactness, adds to the power of the symphony which, when it was first heard, disrupted all contemporary notions of what a symphony was supposed to be.

The Andante con moto (in A-flat major) is the most irregular of the four movements. It is not so much a theme with variations as free thoughts upon segments of a theme with certain earmarks and re- currences of the variation form hovering in the background. The first setting forth of the melody cries heresy by requiring 48 bars. The first strain begins regularly enough, but, instead of closing on the tonic: A-flat, hangs suspended. The wood winds echo this last phrase

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J [ 553] and carry it to a cadence which is pointedly formal as the strings echo it at the nineteenth bar. Formal but not legitimate. A close at the eighth bar would have been regular, and this is not a movement of regular phrase lengths. Regularity is not established until the end of the movement when this phrase closes upon its eighth bar at last! The whole andante is one of the delayed cadences. The second strain of the melody pauses upon the dominant and proceeds with an out- burst into C major, repeats in this key to pause at the same place and dream away at leisure into E-flat. The two sections of melody recur regularly with varying ornamental accompaniment in the strings, but again the questioning pauses bring in enchanting whispered vagaries, such as a fugato for flutes, oboes and clarinets, or a pianis- simo dalliance by the violins upon a strand of accompaniment. The movement finds a sudden fortissimo close. The third movement (allegro, with outward appearance of a scherzo) begins pianissimo with a phrase the rhythm of which crystal- lizes into the principal element, in fortissimo. The movement restores the C minor of the first and some of its rhythmic drive. But here the power of impulsion is light and springy. In the first section of the Trio in C major (the only part of the movement which is literall) repeated) the basses thunder a theme which is briefly developed, fugally and otherwise. The composer begins what sounds until its tenth bar like a da capo. But this is in no sense a return, as the

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[1556] hearer soon realizes. The movement has changed its character, lost its steely vigor and taken on a light, skimming, mysterious quality. It evens off into a pianissimo where the suspense of soft drum beats prepares a new disclosure, lightly establishing (although one does not realize this until the disclosure comes) the quadruple beat. The bridge ol mystery leads, with a sudden tension, into the tremendous out- burst of the Finale, chords proclaiming C major with all of the power an orchestra ol 1807 could muster — which means that trombones, piccolo and contra-bassoon appeared for the first time in a symphony. The Finale follows the formal line of custom, with a second section in the dominant, the prescribed development section, and a fairly close recapitulation. But as completely as the first movement (which likewise outwardly conforms), it gives a new function to a symphony — a new and different character to music itself. Traditional precon- ceptions are swept away in floods of sound, joyous and triumphant. At the end of the development the riotous chords cease and in the sudden silence the scherzo, in what is to be a bridge passage, is recalled. Again measures of wonderment fall into the sense of a coda as the brings the theme to a gentle resolution. This interruption was a stroke of genius which none could deny, even the early malcontents who denounced the movement as vulgar and blatant — merely because they had settled back for a rondo and found something else instead. The Symphony which in all parts overrode disputation did so no- where more unanswerably than in the final coda with its tumultuous C major.

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[1557] THE LOUD BASSOON By John Wilgress (The Musical Times)

musical instrument cannot be said to be affected by fashion in A so startling a manner as a hat or the length of a skirt, but even

in music popularity is never constant. Even the piano, without which, twenty or thirty years ago, education was incomplete, has lost its status in household furniture. On the other hand, a virtuoso can make a

reputation for his instrument in a season's concerts — e.g., for the , or Teddy Brown for the xylophone. But these perhaps are to be considered exceptions, even, by the purist, as

freak pastimes: music, they complain, is losing her modesty.

Be that as it may, the traditional orchestra continues to depend on

a large number of instruments whose use varies but little. Strictly speaking, nothing is demanded of the violin that could not have been obtained two centuries ago; and the same might be said of the ' or the bass. Among the wood-wind instruments, however, invention has had more scope. Additional keys and new systems of fingering are welcome; but on the whole the function of these instruments remains

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[1558] unaltered — they are still the modest servants of composers. Their respective capacities are known and appreciated, the more so when they have been treated as solo instruments; their pedigrees are studied by musical historians. Apart from that they are simply the tenants of the concert-hall.

Of the four wood-wind instruments the bassoon is undoubtedly the least known by the general public. Out of ten average citizens, all of whom listen to the wireless and attend concerts, perhaps one will be familiar with its appearance, but a far smaller percentage will have any knowledge of its nature or its use. Being a bass instrument (actually it is the bass oboe, having in common with the latter a double reed and a tapered bore) its tone is not particularly easy to distinguish in a full score, with the result that it has been left to the specialist both to appreciate and to play. But to the public the bassoon is either a dull dog or a joke. In a drawing-room its appearance will

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[1560] cause a sensation: an onlooker once asked me whether all the machin- ery was necessary; another referred to it as the baboon! The flute delighted them, the clarinet they knew, and the oboe; but the bassoon — does anyone take bassoons seriously? The answer, even so far as persons of average musical education are concerned, is no, they do not. And this is really surprising, for from quite an early date an astonishing number of roles has been allotted to it on account of its extreme versatility. Moreover, of the four wood- wind instruments it has probably been the most affected by mechanical ingenuity; a substantial increase has been made in its range during the past two hundred years, and this, passing for the most part unnoticed by the public, has not failed to claim the attention of composers.

Little is known of its origin. The earliest record of its existence is in a treatise dated 1539, and written by the nephew of a certain Alfranio, a canon of Ferrara. The writer attributes its invention to his uncle, and included two rough woodcuts of the instrument which show it in a form not very unlike that of today, with the exception of the modern elaboration of keys. Probably Alfranio did not invent it but merely adapted what are its recognizable ancestors, the pommer, the brummer, or the bombard. These were pitched in distinct keys

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[ 1563 ] two simple parts for it, but even in Handel it is rare, there being one noted exception in the Witch music from "Saul." Between the dates mentioned and Haydn's "Military" Symphony some change must have been made in the instrument, for in the Minuet of the latter work there occurs a striking melody, reaching to A natural and of such difficulty as to require a first-rate player today to do it justice. Another example of Haydn's appreciation is found in the Andante from the "Clock" Symphony, where the tick-tock accompani- ment is scored for solo bassoon and clarinet. Indeed, from then onwards the bassoon's position as a wood-wind instrument has been unquestioned; no composer has disdained it, while some have been aware of its peculiar qualities, giving it the status of a solo instrument. With regard to the uncertainty as to the limit of the upper register, one detail is worth pointing out, and possibly research would reveal more of the same nature. In Beethoven, who uses the bassoon consis- tently and shows great appreciation of its capacities (for instance in the opening of the Finale of the ninth Symphony), it is comparatively rare to find it written for above G in the treble clef. In Schubert, on the other hand, both A flat and A natural are common enough. Does

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[1564] this lead one to suppose that the pitch of the upper register had by then been stabilized, or did Schubert happen to know of a bassoonist to whom these notes presented no difficulty? The bassoon has been called the clown of the orchestra. Deliberate humour in music is rare, and for the most part one is glad that this is so; but where it is successful, no instrument is more prominent than the one in question. The notes in the lower register from C in the bass clef to the low B flat have a rich and resonant tone which can be coarsened without distortion. Mendelssohn was struck by this power to portray rustic good humour, and in the "Midsummer Night's

Dream" the Clowns' March is effectively led by two bassoons playing in thirds; and in the same work the realist interpretation of Bottom's

braying is also given to the bassoon, where the intervals are precisely those of a donkey. More majestic, but not essentially more successful,

is the elephant solo in Saint-Saens's "Carnaval des Animaux." Another

example of its capacity to portray the grotesque is in Gounod's "Funeral March of a Marionette"; there a vivid impression of puppet

movement is obtained by staccato-playing on the lower notes. Finally, one cannot refrain from mentioning the almost forgotten "Lucy Long" arranged as a bassoon solo with variations; throughout these the

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[1565] lower register. Clown or no clown, the bassoon does possess this unique capacity for satirizing its own possibilities. Either as a bass accompaniment or as a humorist the bassoon can do ample justice to the parts written for it. Even so its scope is by no means exhausted. There is consummate beauty in its tone throughout, particularly in the upper octaves, and this has enabled its use to be fully developed in the subtlest of passages for the wood-wind in classical and later music. In Mozart especially there are moments of extreme delicacy for the bassoon — throughout the Andante of the G minor Symphony, for instance, and in the chromatic passage at the end of the Minuet from the same work. The Concerto in B flat speaks for itself, although it is still comparatively little known, and was the first of its kind to be written. But above this Mozart also realized that in the upper register it afforded an excellent accompaniment for the human voice; its particularly mellow tone intensifying the qualities of the latter. Nor has this possibility been neglected by later composers.

It is difficult to say whether an orchestral instrument, apart from the choice of individual composers, can greatly increase its popularity, and it would be misleading to infer that the bassoon is the instrument of the present or the future. But in one striking case the care which has been constantly shown in the development of its mechanism has, to an extent that is incomparable with any other instrument of the orchestra, enabled a composer to write for the bassoon in a manner that would have been considered wildly impossible a hundred or even fifty years ago. In passing one might make this observation, that whereas in painting, and to some extent in sculpture, less care has come to be taken in the production of works of art, more and more time is spent in musical production. Before Renoir's day the subtleties of flesh could not, it was thought, be painted without preliminary underpainting in Terra Verte; now flesh painting is almost always direct. On the other hand, what would Haydn have said on coming to conduct in London if he had been allowed, as was Toscanini, three three-hour rehearsals before each concert, and at that with several repetitions in his programme? Whatever this implies, it is part of the same craftsmanlike interest that has led to the possibility for the bassoon in the opening passage of the "Sacre du Printemps," which begins entirely solo on a top C sharp. The suggestive quality of the first few bars could have never been obtained on any instrument other than the bassoon. As they are written they could not have been played at all very many years ago. Critics may rise in indignation at Stravinsky's work, but to the musical historian the solo in question must mark the extreme limit of the bassoon's development in the orchestra, and for the few who attempt to play it, it will always take some playing.

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[1567] WORKS PERFORMED AT THIS SERIES OF CONCERTS DURING THE SEASON 1957-1958 PAGE Bach: Sinfonia from the " " IX December 21-22 521 Variations on a Christmas Song (Transcribed for Chorus and Orchestra by Igor Stravinsky) IX December 20-21 522 Chorale Prelude and Chorale, "The Old Year Is Past" (Arranged by Charles Munch) X December 27-28 585

The Passion According to St. John XXI April 3, 5 1289

Suite No. 1, in C major XXII April 11-12 1353 Chorale No. 63 (St. Matthew Passion) (Played in memory of Rudolph F. Elie) XIX March 14-15 Barraud: Symphony No. 3 XVIII March 7-8 1112 Bartok: Music for Strings, Percussion and Celesta XIX March 14-15 1161

Beethoven: Symphony No. 3, in E-flat major, "Eroica" VII November 29-30 393 Concerto for Pianoforte, No. 5, in E-flat major () VII November 29-30 438 Symphony No. 7, in A major, Op. 92 X December 27-28 586 "Grosse Fuge," Op. 33, for String Orchestra XII January 10-11 713 Symphony No. 5, in C minor, Op. 67 XXIV April 25-26 1550 Berg: Three Excerpts for Soprano and Orchestra from the Opera "Wozzeck" ()

XVII February 2%-March 1 1056 Berlioz: "Harold in ," Symphony with Viola Solo, Op. 16 (William Primrose) XX March 28-29 1254 Blackwood: Symphony No. 1 XXIII April 18-19 1434

Brahms: Symphony No. 4, in E minor, Op. 98 I October 4-5 50

Piano Concerto No. 1, in D minor (Gary Graffman) V November 8-9 308 Academic Festival Overture, Op. 80 VIII December 6-7 457 Violin Concerto in D major, Op. 77 (Leonid Kogan) XII January 10-11 750 Symphony No. 2, in D major, Op. 73 XXIII April 18-19 1482

Bruckner: Symphony No. 7, in E major XV February 7-8 940 Cherubini: Symphony in D major XVI February 21-22 969 Copland: Variations for Orchestra XX March 28-29 1234 Debussy: "Images": "Gigues"; "Rondes de Printemps"; "Iberia" VI November 22-23 3 2 9> 334> 3^4 Excerpts from "Le Martyre de Saint Sebastien" XII January 10-11 730 "Jeux," Poeme danse XXII April 11-12 1392

[1568] Dukas: "L'Apprenti Sorrier" II October 11-12 117 Einem: Symphonic Scenes, Op. 22 II October 11-12 80 Gluck: Overture to "Iphigenia in Aulis" XXIII April 18-19 1417 Haieff: Symphony No. 2 XXII April 11-12 1358 Handel: Concerto Grosso for String Orchestra, Op. 6, No. 12 II October 11-12 73 Suite from the "Water Music" (Arranged by Sir Hamilton Harty) XVIII March 7-8 1097 Haydn: Symphony No. 101 in D major, "The Clock" V November 8-9 265 Symphony in G major, "Oxford," No. 92 XIII January 24-25 777 Symphony No. 102, in B-flat XXIV April 25-26 1513 Hindemith: "" III October 25-26 180 Symphonic Metamorphosis of Themes by XIII January 24-25 824 Honegger: A Christmas IX December 20-21 564 Hovhaness: Mysterious Mountain, Op. 132 XIII January 24-25 788 Ibert: Chamber Concertino for and Orchestra (Marcel Mule) XIV January 31-February 1 862 d'Indy: Symphony for Orchestra and Pianoforte on a French Mountain Song, Op. 25 (Nicole Henriot) XIX March 14-15 1208 Liadov: Three Pieces for Orchestra III October 25-26 137

Mendelssohn: Symphony No. 5, in D minor, "Reformation," Op. 107 II October 11-12 108

Symphony No. 4, in A major, "Italian," Op. 90 XIV January $i-February 1 880 Mozart: Symphony in G minor, K. 550 I October 4-5 16 Sinfonia Concertante for Violin and Viola, in E-flat, K. 364 (Ruth Posselt; Joseph de Pasquale) III October 25-26 154 Concerto for Bassoon, in B-flat major, K. 191 (Sherman Walt) IX December 20-21 534 Symphony in C major, "Linz," K. 425 XX March 28-29 1225 Piston: Concerto for Viola and Orchestra (Joseph de Pasquale) XVIII March^j-S 1136 Prokofieff: "Classical" Symphony, Op. 25 XI January 3-4 649 Scythian Suite, "Ala and Lolli," Op. 20 XVII February 28-March 1 1081

Rachmaninoff: Piano Concerto No. 3, in D minor (Byron Janis) X December 27-28 629 Rameau: Suite from the Opera, "Dardanus" XV February 7-8 905 Ravel: "La Valse," Choreographic Poem VIII December 6-7 501 [1569] "Ma Mere l'Oye" XIV January 9,1-February 1 841 Concerto for Piano and Orchestra (Nicole Henriot) XIX March 14-15 1172 Roussel: Suite in F major, Op. 33 XVIII March 7-8 1143 Saint-Saens: Overture to "La Princesse jaune" IV November 1-2 201 "Le Rouet d'Omphale" Symphonic Poem, No. 1, Op. 31 IV November 1-2 204 Schonberg: Five Pieces for Orchestra, Op. 16 XVII February 2S-March 1 1039 Schubert: Symphony in B minor, "Unfinished" XIII January 24-25 806 Schumann: Concerto for Violoncello in A minor, Op. 129 (Pierre Fournier) VIII December 6-7 494 Sessions: Symphony No. 3 VIII December 6-7 462

Shostakovitch: Symphony No. 1, Op. 10 XVII February 28-March 1 1033

Sibelius: Symphony No. 7, in One Movement, Op. 105 (Played in memory of Jean Sibelius) I October 4-5 38 Symphony No. 2, in D major, Op. 43 XVI February 21-22 1015 Strauss: "Tod und Verklarung," Tone Poem, Op. 24 XII January 10-11 742 Stravinsky: Canticum Sacrum, for , Baritone, Chorus, and Orchestra V November 8-9 280 "Petrouchka," A Burlesque in Four Scenes XI January 3-4 668 "Agon," Ballet XV February 7-8 910 Suite from the Ballet, "L'Oiseau de Feu" XVI February 21-22 978 Divertimento from "Le Baiser de la Fee" XXIV April 25-26 1520 Tchaikovsky: Violin Concerto in D major, Op. 35 (Zino Francescatti) IV November 1-2 240

Symphony No. 4, in F minor, Op. 36 XI January 3-4 690 Tomasi: Ballade for Saxophone and Orchestra (Marcel Mule) XIV January ^-February 1 868

Vaughan Williams: Symphony No. 8, in D minor IV November 1-2 210 Wagner: Prelude and Love-death from "Tristan und Isolde" (Eileen Farrell) VI November 22-23 342 Finale, "Immolation Scene," from "Gotterdammerung" (Eileen Farrell) VI November 22-23 368 Prelude to "Die Meistersinger von Nurnberg" XXII April 11-12 1399

[1570] GUEST CONDUCTORS Richard Burgin (Associate Conductor): October 25-26, February 28-March 1, April 18-19, 22, 25-26 Pierre Monteux: January 10-11. 3-4; January Sketch . 643 : January 24-25. Sketch . 771 Thomas Schippers: February 21-22. Sketch . 963

WORKS PERFORMED FOR THE FIRST TIME IN THE FRIDAY-SATURDAY SERIES Bach Chorale Variations on the Christmas Song "Vom Himmel hoch da komm' ich her" (Transcribed by Stravinsky) Barraud # Symphony No. 3 Berg Three Excerpts for Soprano and Orchestra from the Opera "Wozzeck," Op. 7 Blackwood * Symphony No. 1 Cherubini Symphony in D major Copland Variations for Orchestra ElNEM * Symphonic Scenes, Op. 22 Haieff * Symphony No. 2 Hindemith "Die Harmonie der Welt" hovhaness Mysterious Mountain, Op. 132 Mozart Concerto for Bassoon in B-flat major, K. 191 Piston * Concerto for Viola and Orchestra Sessions * Symphony No. 3 Stravinsky Canticum Sacrum for Tenor, Baritone, Chorus and Orchestra "Agon," Ballet Tomasi Ballade for Saxophone and Orchestra

Vaughan Williams Symphony No. 8, in D minor

NUMERICAL SUMMARY OF WORKS PERFORMED

Works by Beethoven, Brahms, Debussy, Stravinsky — 5; Bach, Mozart

— 4; Haydn, Ravel, Wagner — 3; Handel, .Hindemith, Mendelssohn,

Prokofieff, Saint-Saens, Sibelius, Tchaikovsky — 2; Barraud, Bartok, Berg, Berlioz, Blackwood, Bruckner, Cherubini, Copland, Dukas, Einem, Gluck, Haieff, Honegger, Hovhaness, Ibert, d'Indy, Liadov, Piston, Rachmaninoff, Rameau, Roussel; Schonberg, Schubert, Schu- mann, Sessions, Shostakovitch, Strauss, Tomasi, Vaughan Williams —

1 each. Total — 80 works by 45 composers.

* First performance. (The works by Einem and Sessions were commissioned for the Orchestra's 75th Anniversary.) |>57*] ARTISTS WHO HAVE APPEARED AS SOLOISTS

Claudio Arrau (Beethoven: Piano Concerto No. 5). November 29-30. Sketch 387 Eileen Farrell (Wagner: Prelude and Love-death from "Tris- tan und Isolde"; Finale, "Immolation Scene," from

"Gotterdammerung"). November 22-23. Sketch . 324 Pierre Fournier (Schumann: Cello Concerto in A minor). December 6-7. Sketch 452 Zino Francescatti (Tchaikovsky: Violin Concerto in D major). November 1-2. Sketch 238

Gary Graffman (Brahms: Piano Concerto No. 1). November 8-9. Sketch 307 Nicole Henriot (Ravel: Piano Concerto; d'Indy: Symphony for Orchestra and Piano on a French Mountain Song). March 14-15. Sketch 1155

Byron Janis (Rachmaninoff: Piano Concerto No. 3). Decem- ber 27-28. Sketch 579 *Leonid Kogan (Brahms: Violin Concerto in D major). January 10-11. Sketch 708 * Marcel Mule (Ibert: Chamber Concertino for Saxophone and Orchestra; Tomasi: Ballade for Saxophone and

Orchestra). January 31-February 1. Sketch . . 835 Patricia Neway (Berg: Three Excerpts for Soprano and Orchestra from the Opera "Wozzeck"). February 28- March 1. Sketch 1028 Joseph de Pasquale (Mozart: Sinfonia Concertante for Violin and Viola). October 25-26. (Piston: Viola Concerto). March 7-8. Sketch 160, 1092 Ruth Posselt (Mozart: Sinfonia Concertante for Violin and Viola). October 25-26. Sketch 160 William Primrose (Berlioz: "Harold in Italy"). March 28- 29. Sketch 1219 Sherman Walt (Mozart: Concerto for Bassoon, K. 191). December 20-21. Sketch 515

ARTISTS WHO HAVE ASSISTED IN PERFORMANCES Choruses: Chorus Pro Musica, Alfred Nash Patter- son, Conductor (Stravinsky: Canticum Sacrum; Bach: St. John Passion) New England Conservatory Chorus, Lorna Cooke de Varon, Conductor (Bach: Chorale Variations on a Christmas Song; Honegger: A Christmas Cantata)

* First appearance with the Boston Symphony Orchestra.

[ 1572 ] : Marguerite Willauer (Honegger: A Christ- mas Cantata)

*Mattiwilda Dobbs (Bach: St. John Pas- sion) : Florence Kopleff (Bach: St. John Passion) Tenor: Blake Stern (Stravinsky: Canticum Sacrum; Bach: St. John Passion) Baritone: Donald Gramm (Stravinsky: Canticum Sacrum; Bach: St. John Passion) Basses: * Marvin Hayes (Honegger: A Christmas Cantata) James Joyce (Bach: St. John Passion) Harpsichord: (Bach: St. John Passion) Organ: Alfred Nash Patterson (Bach: St. John Passion) Piano: Bernard Zighera (Stravinsky: "Petrouchka") Viola da gamba: Alfred Zighera (Bach: St. John Passion)

* First appearance with the Boston Symphony Orchestra.

ENTR'ACTES PAGE Bernstein, Leonard Musicals, Music and Modernity 922.99 1 Britten, Benjamin Dennis Brain .... 1240 Burk, John N. Mozart's Last Three Symphonies 28 A September Idyll in 113 Vaughan Williams' "Musical Autobiography" 216

In Defense of "Corno di Bassetto" . 296 and His Invention 872 Schoenberg's "Excruciating Novelty" 1044 Naked Face of Genius 1180 Wozzeck as a Method in Opera 1070 , "Musicien Frangais" 1376 The Fourth Gospel .... '335

Wagner's "Opera Buffa" . 1364

Cardus, Neville Wagner Still Triumphant . 354 80 The Lack of English Love-Music . Sibelius 44 Revolt and Tradition 1440

Cockshott, Gerald On Saying Nothing New . *534 Daniel, Oliver Alan Hovhaness 792 Durgin, Cyrus W. The Pride of All the Prides of Lions 96 Einstein, Alfred The "Unfinished" Symphony (From "Schubert: A Musical Portrait") 820 53S Affinities of the Ages . Globe, Boston Deep Sea and Prosperous Voyage 43° Higginson, Francis Lee, Jr. A Secret Revealed 9 604 Hoffmann, E. T. A. Beethoven and E. T. A. Hoffmann 1248 Humphrey, Laning Byron and the Composers . 6 Lang, Paul Henry Sleeping Giants .... 55 A Vanished Musical Utopia 799 Mule, Marcel The Saxophone .... 852 [1573] Nettl, Paul Beethoven's Grand-Nephew in America 410 Newman, Ernest Main Streams and Minor 1200

Music's Change of Face 1 126 Musical Doodling 618 Musician, Say It in Music 484 Piston, Walter "Viola and Orchestra" 1136

Rogers, Harold A Visit with Sibelius . 162 Sessions, Roger A New Symphony 476 Shawe-Taylor, Desmond Applause 1006 Sternfeld, Frederick W. Five Russian Folk Songs in Stravinsky's "Petrouchka" 680 Stuckenschmidt, H. H. Hindemith's Latest Opera 174 Taubman, Howard A Helping Hand 1118 Wilgress, John The Loud Bassoon 1558

PENSION FUND

At the 122nd Pension Fund concert, Bach's Mass in B minor was performed in two sessions on Sunday, March 9. G. Wallace Woodworth conducted the Boston Symphony Orchestra with the Harvard Glee Club and Radcliffe Choral Society. The concert celebrated the 100th Anniversary of the Glee Club and the 25th of Professor Woodworth as its conductor. The soloists were Adele Addison, Eunice Alberts, Blake Stern, Donald Gramm. Six regular Open Rehearsals at Symphony Hall during the season past (October

31, December 5, January 8, January 29, February 27, March 27) and five extra Open

Rehearsals (November 7, December 19, February 20, March 13, April 2) benefited the Pension Fund. The six Saturday morning rehearsals of the Berkshire Festival were open to the public for the benefit of the Pension Fund.

MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA The 24th annual meeting of the Friends of the Boston Symphony Orchestra was held in Symphony Hall on March 13. Henry B. Cabot spoke and introduced the new chairman, Henry A. Laughlin, Dr. Palfrey Perkins having retired. The Friends were admitted to the last part of the regular rehearsal before the meeting began. Dr. Munch and the trustees received the members at tea.

PROGRAMS OF THE SUNDAY AFTERNOON SERIES

Six Sunday concerts were given in Symphony Hall on Sunday afternoons. Pierre Monteux conducted the concert on January 5 and Thomas Schippers conducted the concert on February 23.

November 3. Mozart: Symphony in G minor, K. 550; Vaughan Williams: Symphony No. 8, in D minor; Brahms: Symphony No. 4, in E minor. December 1. Beethoven: Symphony No. 3 in E-flat major, "Eroica"; Piano

Concerto No. 5, in E-flat major (Claudio Arrau).

January 5. Prokofieff: "Classical" Symphony; Stravinsky: "Petrouchka";

Tchaikovsky: Symphony No. 4, in F minor.

February 2. Ravel: "Ma Mere l'Oye"; Ibert: Chamber Concertino for Saxophone and Orchestra (Marcel Mule); Tomasi: Ballade for Saxophone and Orchestra (Marcel Mule); Mendelssohn: Symphony No. 4, in A major, "Italian."

[1574] February 23. Cherubini: Symphony in D major; Stravinsky: Suite from the Ballet "L'Oiseau de Feu"; Sibelius: Symphony No. 2, in D major. March 30. Handel: Suite from the "Water Music"; Mozart: Symphony in C major, "Linz," K. 425; Berlioz: "Harold in Italy" (William Primrose).

PROGRAMS OF THE TUESDAY EVENING SERIES

Nine Symphony concerts were given in Symphony Hall on Tuesday evenings. Richard Burgin conducted October 29, March 4, April 22; Pierre Monteux January 7; Robert Shaw January 28. October 8. Mozart: Symphony in G minor, K. 550; Stravinsky: "Jeu de Cartes"; Franck: Symphony in D minor. October 29. Liadov: Three Pieces for Orchestra; Mozart: Sinfonia Concertante for Violin and Viola (Ruth Posselt, Joseph de Pasquale); Hindemith: "Die Harmonie der Welt." November 19. Handel: Concerto Grosso for String Orchestra; Vaughan Williams:

Symphony No. 8, in D minor; Brahms: Piano Concerto No. 1 (Gary Graff- man). December 10. Brahms: Academic Festival Overture; Mendelssohn: Symphony

No. 5 in D minor, "Reformation"; Sessions: Symphony No. 3; Wagner: Prelude and Love-death from "Tristan und Isolde."

January 7. Prokofieff: "Classical" Symphony; Stravinsky: "Petrouchka";

Tchaikovsky: Symphony No. 5, in E minor. January 28. Haydn: Symphony in G major, "Oxford"; Hovhaness: Mysterious Mountain; Schubert: Symphony in B minor, "Unfinished"; Hindemith: Symphonic Metamorphosis of Themes by Carl Maria von Weber.

March 4. Shostakovitch: Symphony No. 1, Op. 10; Schonberg: Five Pieces for Orchestra; Berg: Three Excerpts for Soprano and Orchestra from the Opera

"Wozzeck," Op. 7 (Patricia Neway); Prokofieff: Scythian Suite, "Ala and Lolli."

April 1. Handel: Suite from the "Water Music"; Piston: Concerto for Viola and

Orchestra (Joseph de Pasquale); Beethoven: Symphony No. 7, in A major.

April 22. Gluck: Overture to "Iphigenia in Aulis"; Blackwood: Symphony No. 1;

Brahms: Symphony No. 2, in D major.

CONCERTS OUTSIDE BOSTON

Six Tuesday evening concerts in Sanders Theatre, , Cambridge: November 26; December 17; February 4 (Marcel Mule); February 18; March 25 (Joseph de Pasquale); April 8 (Gary Graffman). Five Tuesday evening concerts in the Veterans Memorial Auditorium, Providence:

November 5; December 3; January 21 (Richard Burgin, Conductor; Ruth Posselt); February 25 (Thomas Schippers, Conductor); March 11 (Joseph de Pasquale).

Ten concerts in , New York City (5 Wednesday evenings and 5 Saturday afternoons): November 13 (Gary Graffman; Blake Stern, Donald Gramm, Schola Cantorum, Hugh Ross, Conductor), November 16; December 11 (Pierre Fournier), December 14 (Claudio Arrau); January 15 (Pierre Monteux, Conductor), January 18 (Pierre Monteux, Conductor, Leonid Kogan); February 12 (Marcel Mule), February 15 (Marcel Mule); Henriot). March 19 (Joseph de Pasquale), March 22 (Nicole

[ 1575 ] Five Friday evening concerts in the Academy of Music, , N.Y.: November 15; December 13 (Claudio Arrau); January 17 (Pierre Monteux, Con- ductor); February 14 (Marcel Mule); March 21 (Nicole Henriot). Concerts in other cities: Rochester, October 15; , October 16; Ann Arbor,

October 17; Detroit, October 18; Lexington, October 19; Bloomington, October 20; Cincinnati, October 21; Northampton, November 11; New

Haven, November 12 and February 11; Newark, November 14; Cambridge,

M.I.T., November 20; Washington, December 12 and February 13; Hartford,

January 14; Storrs, January 16; Bridgeport, February 10; Worcester, March

10; Springfield, March 17; New London, March 18. (Pierre Monteux con- ducted the concerts on January 14 and 16. Marcel Mule appeared as soloist

on February 11 and 13; Nicole Henriot on March 17; Joseph de Pasquale on March 18. Gary Graffman appeared as soloist on November 12.) The concert announced for for March 20 was cancelled on account of weather

POPS CONCERTS The 72nd season of concerts by the , Arthur Fiedler, Conductor, was given in Symphony Hall from April 30 to June 29.

ESPLANADE CONCERTS The 29th consecutive season of Esplanade Concerts by members of the Boston Symphony Orchestra, Arthur Fiedler, Conductor, was given in the Edward Hatch Memorial Shell with scheduled concerts on the evenings July 2 through 14 (omitting

July 8), August 12 through 17 and Wednesday mornings on July 3, 10, August 14 (Children's Concerts).

BERKSHIRE FESTIVAL, TANGLEWOOD Six concerts by members of the Boston Symphony Orchestra, under the direction of Charles Munch, were given on Friday and Saturday evenings and Sunday after- noons of the first two weeks. The concerts on July 7 and July 13 were performed in the Shed. The other concerts were performed in the Theatre-Concert Hall.

July 5. Bach: Suite No. 3 in D major; Brandenburg Concerto No. 5, in D major, for Orchestra with Piano, Flute and Violin (Doriot Anthony Dwyer, Lukas Foss,

Richard Burgin); Suite No. 2, in B minor, for Flute and Strings (Doriot Anthony Dwyer); Concerto in C minor for Two Pianos (Lukas Foss, Seymour Lipkin).

July 6. Bach: Brandenburg Concerto No. 1, in F major; Brandenburg Concerto No. 2 for Trumpet, Flute, Oboe and Violin with Strings (, Doriot

Anthony Dwyer, Ralph Gomberg, Richard Burgin); Brandenburg Concerto No. 3, in G major, for Strings; Brandenburg Concerto No. 6, in B-flat major, for Strings;

Brandenburg Concerto No. 4, in G major, for Violin, Two Flutes, and Strings (Richard Burgin, Doriot Anthony Dwyer, James Pappoutsakis).

July 7. Bach: The Passion According to St. Matthew (Opening Chorus and Part

II), Harvard Glee Club and Radcliffe Choral Society, G. Wallace Woodworth, Con- ductor; Daniel Pinkham, Alfred Nash Patterson, Alfred Zighera. July 12. Mozart: Divertimento in D major, for Strings, K. 136; Serenade in C minor, for Two Oboes, Two Clarinets, Two Horns, and Two Bassoons, K. 388; Symphony in D major, "Haffner," K. 385; Conducted by Hugh Ross: "Regina Coeli,"

[1576] for Chorus, Solo Voices, and Orchestra, K. 276; "Ave, Verum Corpus/' Motet for Chorus and String Orchestra, K. 618; Mass in C major, for Chorus, Solo Voices, and Orchestra, K. 337 (Festival Chorus; , Marjorie Campagna-Pinto, John McCollum, Fague Springmann). July Mozart: 73. Symphony in E-flat major, K. 543; Symphony in G minor, K. 550; Symphony in C major, "Jupiter," K. 551. July Mozart: 14. Adagio and Fugue in C minor for String Orchestra, K. 546; Concerto for Bassoon, in B-flat major, K. 191 (Sherman Walt); Concerto for Horn, in E-flat major, K. 495 (James Stagliano); Sinfonia Concertante for Oboe, Clarinet, Horn and Bassoon, K. 297b (Ralph Gomberg, Gino Cioffi, James Stagliano, Sherman Walt).

Twelve concerts by the Boston Symphony Orchestra, under the direction of Charles Munch, were given in the Shed on Friday and Saturday evenings, and Sunday afternoons of the last jour weeks. Pierre Monteux conducted on July 20 and 28; Carl Schuricht on August 2 and jo. July 19. Stravinsky: "Jeu de Cartes"; Tchaikovsky: Variations on a Rococo Theme for Violoncello with Orchestral Accompaniment, Op. 33 (Samuel Mayes); Symphony No. 6, in B minor, "Pathetique." July 20. Mendelssohn: Overture, "The Hebrides" ("Fingal's Cave"); Tchaikov-

sky: Symphony No. 5, in E minor; Stravinsky: "Le Sacre du Printemps." July 21. Tchaikovsky: "Romeo and Juliet," Overture-Fantasia; Stravinsky: Canticum Sacrum (Festival Chorus prepared by Hugh Ross; John McCollum, Donald Gramm); Tchaikovsky: Violin Concerto in D major (). July 26. Berlioz: Overture, "The Corsair"; "Harold in Italy" Symphony with Viola Solo (Joseph de Pasquale); Fantastic Symphony, Op. 14A. July 27. Berlioz: "L'Enfance du Christ," Op. 25 (Festival Chorus prepared by Lorna Cooke de Varon; Cesare Valletti, Florence Kopleff, Gerard Souzay, Donald Gramm, Doriot Anthony Dwyer, James Pappoutsakis, Bernard Zighera). July 28. Berlioz: Excerpts from "Romeo and Juliet," Dramatic Symphony; Hindemith: Overture to the Opera "Neues vom Tage" ("News of the Day"); Symphony, "" /"Matthias the Painter").

August 2. Brahms: Tragic Overture, Op. 81; Egk: "Georgica," Three Peasant

Pieces for Orchestra; Brahms: Symphony No. 1, in C minor, Op. 68.

August 3. Brahms: Variations on a Theme of Haydn, Op. 562; Barber: Medea's Meditation and Dance of Vengeance, Op. 23-A; Brahms: Violin Concerto in D major, Op. 77 (Isaac Stern). August 4. Brahms: Academic Festival Overture, Op. 80; Piston: Symphony

No. 5; Brahms: Piano Concerto No. 2, in B-flat major, Op. 83 ().

August p. Beethoven: Overture, "Leonore" No. 3; Honegger: Symphony No. 3, "Liturgique"; Beethoven: Violin Concerto in D major, Op. 61 (Isaac Stern). August 10. Blacher: Konzertante Musik, Op. 10; Schubert: Symphony in B

minor, "Unfinished"; Beethoven: Symphony No. 3, in E-flat major, "Eroica." August 11. Copland: "Quiet City," for Trumpet, English Horn and Strings (Roger Voisin, Louis Speyer); Beethoven: Symphony No. 9, in D minor, with Final Chorus on Schiller's Ode to Joy, Op. 125 (Festival Chorus prepared by Hugh Ross and Alfred Nash Patterson; Adele Addison, John McCollum, Florence Kopleff, Donald Gramm).

Six Chamber concerts by the following groups were given in the Theatre-Concert Hall.

July y. Paganini String Quartet [1577] July jo: Piano Duets by Seymour Lipkin and Ralph Berkowitz, with vocal soloists July zy: Beaux Arts Trio July 24: Kroll String Quartet July 31: Gerard Souzay, Baritone August 7: Zimbler Sinfonietta

"Tanglewood on Parade," a benefit for the Berkshire Music Center, was given on Thursday, August 8. The Boston Symphony Orchestra gave a concert in the Shed in which Charles Munch conducted Schumann's Symphony No. 4 in D minor, and conducted his own works — "Our Town," Suite and Excerpts from "The Tender Land," with the Berkshire Festival Chorus. In the second half of the program Arthur Fiedler conducted the Boston Pops Orchestra in Rossini's Overture "The Barber of Seville," Tchaikovsky's "Marche Slave," Saint-Saens' "The Carnival of the Animals" (Soloists: Seymour Lipkin, Ralph Berkowitz), Selections from "My Fair Lady."

On Saturday mornings, July 6, 13, 20, 27, August 3 and 10, the Rehearsals were opened to the public for the benefit of the Pension Fund.

BERKSHIRE MUSIC CENTER

The Fifteenth Session of the Berkshire Music Center, Charles Munch, Director, was held at Tanglewood from July 1 to August 11, 1957.

BROADCASTS The Friday afternoon concerts of the Orchestra in Symphony Hall have been regularly broadcast by FM stations WGBH and WXHR. WXHR also broadcast the concerts of the Sunday and Tuesday series of concerts in Boston. The Saturday evening concerts in Symphony Hall have been regularly broadcast also since the beginning of the season by WGBH and WCRB (AM and FM), Boston, in addition to the two stations of the "Concert Network" (WHCN, Hartford and WXCN, Providence), also WQXR, New York, and its six affiliated stations (WFLN, Philadelphia and WHLD, Niagara Falls-Buffalo) and six stations of the Rural Radio Network in co-operation with WQXR (WRRA, Ithaca; WRRL, Wethersfield-Bliss; WRRE, Bristol Center; WRRD, DeRuyter; WRRC, Cherry Valley; and WAER, U. of Syracuse). Six Cambridge concerts (Sanders Theatre), and one concert given at Kresge Auditorium, were televised and broadcast simultaneously by WGBH-FM/TV, five of these telecasts to be kinescoped and made available to educational television stations throughout the country by the Educational Radio and Television Center.

On tour, the concert of October 1 7 in Ann Arbor, Michigan, was broadcast through the combined facilities of the educational stations, WFUM and WUOM, . WEDK, Springfield, Massachusetts, under the auspices of the New England Educational Radio Network, taped the concert of November 11 given at to open the station's broadcasting facilities as a salute to the Boston Symphony Orchestra shortly after the first of this year. WEDK, now operating on its full schedule, broadcast the concert given in Springfield on March 17 through the facilities of our own Boston station WGBH. Both Washington concerts, December

12 and February 13, were broadcast by WGMS, Washington.

[1578 3 Thirty-six concerts of the Berkshire Festival (including the six Wednesday evening chamber concerts and twelve Music Center concerts) were put on the air by delayed broadcast through the winter season by Station WGBH-FM. The Saturday evening concerts of the Pops season were broadcast by WGBH.

THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON SYMPHONY ORCHESTRA UNDER THE DIRECTION OF CHARLES MUNCH HAVE BEEN RELEASED SINCE APRIL, 1957: Barber: Adagio for Strings. Berlioz: "L'Enfance du Christ," Bloch: "Schelomo" (Piatigorsky).

Brahms: Symphony No. 1. Debussy: La Mer.

Elgar: Introduction and Allegro for Strings. Franck: Symphony in D minor. Ibert: "Escales" (Ports of Call). Prokofieff: Romeo and Juliet, Excerpts. Tchaikovsky: Serenade for Strings. Wagner: Overture and Bacchanale, "Tannhauser"; Magic Fire Music, "Die Walkiire"; Siegfried's Rhine Journey. Walton: Concerto for Cello and Orchestra (Piatigorsky).

RECORDED UNDER PIERRE MONTEUX Khatchaturian: Violin Concerto (Kogan).

THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON POPS ORCHESTRA UNDER THE DIRECTION OF ARTHUR FIEDLER WERE RELEASED SINCE APRIL, 1957:

Pops Caviar; Hi-Fi Fiedler; Enter the Ballet; Music from Peer Gynt Suites No. 1 and 2 and Lyric Suite; Curtain Going Up; Selections from Die Fledermaus and Gypsy Baron.

For information about space and rates in THE BOSTON POPS PROGRAM

Call Advertising Department, Symphony Hall

COmmonwealth 6-1492

Donald T. Gammons

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[1580] Boston Symphony Orchestra

(Seventy-seventh Season, 1957-1958) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert Bernard George Zazofsky Rolland Tapley George Humphrey Contra-Bassoon Lipson Norbert Lauga Jerome Richard Plaster Vladimir ResnikofE Robert Karol Green Horns Harry Dickson Reuben Gottfried Wilfinger Bernard Kadinoff James Stagliano Vincent Mauricci Charles Yancich Einar Hansen Harry Shapiro Joseph Leibovici John Fiasca Earl Hedberg Harold Meek Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Stanley Benson Jacobus Langendoen Roger Voisin Leo Panasevich Mischa Nieland Andre Come Sheldon Rotenberg Karl Zeise Armando Ghitalla Fredy Ostrovsky Josef Zimbler Gerard Goguen Clarence Knudson Bernard Parronchi Trombones Pierre Mayer Martin Hoherman Manuel Zung Louis Berger William Gibson William Mover Samuel Diamond Richard Kapuscinski Kabila Robert Ripley Kauko Victor Manusevitch Josef Orosz James Nagy Winifred Winograd Melvin Bryant Flutes Tuba Lloyd Stonestreet Doriot Anthony Dwyer K. Vinal Smith Saverio Messina James Pappoutsakis William Waterhouse Phillip Kaplan Harps William Marshall Piccolo Bernard Zighera Leonard Moss George Madsen Olivia Luetcke Jesse Ceci Noah Bielski Oboes Timpani Alfred Schneider Ralph Gomberg Everett Firth Joseph Silverstein Jean Devergie Harold Farberman John Holmes Basses English Horn Percussion Louis Speyer Charles Smith Georges Moleux Harold Thompson Henry Freeman Clarinets Arthur Press Irving Frankel Gino Cioffi Henry Portnoi Manuel Valerio Piano Henri Girard Pasquale Cardillo Bernard Zighera John Barwicki E\) Clarinet Library Leslie Martin Rosario Mazzeo Victor Alpert

[1581] Conserving Our Inheritance

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served for our enjoyment through the unusual skill, experience and scholarship of the musicians who play these masterpieces. This Trust Company has served generations of New England families by helping them hold together their inheritance of investments and property— as executor, trustee and investment adviser— for the benefit and protection of their families.

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[1582] ANNOUNCEMENT 78th SEASON, 1958-1959

SYMPHONY HALL

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS

9 TUESDAY EVENING CONCERTS 6 SUNDAY AFTERNOON CONCERTS

from October 3 to April 25

GUEST CONDUCTORS AND SOLOISTS TO BE ANNOUNCED

Subscription renewal cards have been sent to all Friday Afternoon and Saturday Evening season ticket holders.

Please note that option on these tickets expires May 1.

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[1583] MUSICAL INSTRUCTION

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EDNA NITKIN PIANIST TEACHER ACCOMPANIST 500 Boylston St. By Appointment Copley Sq., Boston Tel. RE 6406s

DAVID BLAIR McCLOSKY TEACHER OF SINGING VOICE THERAPIST BOSTON UNIVERSITY COLLEGE OF MUSIC, BOSTON, MASS. By Appointment KE 6-2082 Studio in New York

PIANO VOICE taught in the best American and European traditions

BALLING MUSIC STUDIO For Auditions call: 1875 COMMONWEALTH AVENUE DEcatur 2-6990 NEWTON 66, MASS. FAirview 3-5461

SALVATORE SULLO PIANIST TEACHER Studied at Naples Conservatory (scholarship) and with Alfred Cortot, Paris. Chamber Music concerts with members of Boston Symphony Orchestra. PRospect 6-9741

MINNIE WOLK GEORGE ZILZER PIANOFORTE STUDIO Pianist 42 Symphony Chambers, Boston Teacher Coach opp. Symphony Hall Staff Res. EX 5-6126 LO 6-0602 TW 3*7636

[1584] SEASON 1958-59

BOSTON UNIVERSITY >^> NOTE: Each subscription of

seven or nine events in-

cludes a bonus ticket for

the National Symphony. Managing^AARON^igmoiw Director

Symphony Hall • Jordan Hall • John Hancock Hall

SUBSCRIPTIONS: 143 Newbury St., Boston (KE 6-6037) GREAT SERIES SAVING

Mail applications promptly filled. Announcement upon request. rP| T/'T Any 7 Events: $21 $17 • $13 • ($9 Sold Out) Any 9 Events: $27 $21.80 • $16.70

NOTE: This is Last Week to Select N. Y. Philharmonic in Series

N. Y. PHILHARMONIC, , Cond Fri. Eve., Sept. 26 CHICAGO SYMPHONY, Fritz Reiner, Cond Tues. Eve., Oct. 14 IGLESIAS SPANISH BALLET from Madrid Wed. Eve., Oct. 22 VLADIMIR ASHKENAZY, Soviet Pianist Sun. Eve., Nov. 2 GRENADIER GUARDS Regimental Band, Highland Dancers (Boston Garden) Sun. Aft., Nov. 9 BUDAPEST STRING QUARTET Sun. Aft., Nov. 16 GEOFFREY HOLDER DANCE COMPANY Fri.-Sat. Eves., Dec. 5-6

RUDOLF SERKIN Fri. Eve., Dec. 12 VIENNA ACADEMY CHORUS Sun. Aft., Dec. 14 ARTUR RUBINSTEIN Sun. Aft., Jan. II

NATIONAL SYMPHONY with LEONTYNE PRICE, Soloist. .Fri. Eve., Jan. 16

EMLYN WILLIAMS in "A Boy Growing Up" (Dylan Thomas) Thurs. Eve. Jan. 29 NATHAN MILSTEIN, Violinist Sun. Aft., Feb. 15 STUTTGART CHAMBER ORCHESTRA (By arr. with Bonn Gov't.) Sat. Eve., Feb. 21 , Exciting Canadian Piano Virtuoso Sun. Aft., Mar. 8 QUARTETTO ITALIANO Sun. Aft., Mar. 15 MIECZYSLAW HORSZOWSKI, Polish Pianist Sun. Aft., Apr. 12 MASTER PIANO SERIES—5 EVENTS: $15, $12.10, $9.25, $6.40 Rubinstein, Serkin, Ashkenazy, Glenn Gould, Horszowski CHAMBER MUSIC SERIES—5 EVENTS: $15, $12.10, $9.25, $6.40 Stuttgart Chamber Orch., Quartetto italiano, Budapest String Quartet, Budapest Quartet with Horszowski, Milstein & Balsam

Extra Events at these (below box-office) prices:

RENATA TEBALDI ($4.75, $3.75, $3.25, $2.25) Sun. Eve., Mar. I ANDRES SEGOVIA ($2.80, $2.25, $1.75) Sun. Aft., Mar. 22 "

"The Baldwin is in itself a mag- nificently sensitive and brilliant 88

piece symphonic ensemble . . . com- pletely satisfying to me both as pianist and conductor, Leonard Bernstein

THE

LEONARD BERNSTEIN, Conductor

has been engaged by Aaron Richmond

as the OPENING EVENT — FRI. EVE., SEPT. 26

1958-1959 Boston University Celebrity Series

THE BALDWIN PIANO COMPANY 160 BOYLSTON STREET BOSTON

Baldwin, Acrosonic and Hamilton Pianos • Baldwin and Orga-sonic Organs